12/24/2022 0 Comments Phantasmagoria game lewd scensesAnd third, games require an expanded definition of the index that stresses motion rather than a privileging of the trace-“trace,” here, referring to the quality identified by André Bazin that sees in photography and film the capacity to physically “embalm time” and objectively capture reality through a photographic image, a belief that has often been used to differentiate digital representations from analog images. 1 Second, realism in games has long relied on the inscription of embodied motion. First, digital images are condensations of specific-if multiple-bodies that persist as representations that have some link with the physical world. In making this argument, I demonstrate three things. This involves numerous questions about realism, indexicality, and affect, which I aim to intertwine and unfold below. While the visual presence of a human body may no longer be a coherent source of any link between a representation and physical reality, motion brings together digital images with the reality inscribed into media. In reviewing the history of this genre, I contextualize some early attempts to use motion capture and rotoscoping to incorporate human bodies into games, arguing that representation in games and other forms of digital media should be conceived not as deferring to the visual, but as reliant on the kinesthetic. In this essay, I present a history of the graphic adventure genre of video and computer games and its attempts at achieving a kind of cinematic realism through the registration of the body.
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